Thursday April 13, 2017, @ 8PM
509 Atlantic Avenue (at 3rd Ave), Brooklyn NY
Thomas Buckner: Works By Annea Lockwood, Earl Howard, Daniel Rothman, & Sam Ashley
Thomas Buckner, baritone, with JD Parran, winds, Andrew Drury, percussion, Earl Howard, electronics, and Theodore Mook, cello, perform Night and Fog (1987), by Annea Lockwood (based on poems by Osip Mandelstam and Carolyn Forshe); Left-handed Quark, by Earl Howard, Nothing Personal by Daniel Rothman; and Ear of the Beholder, Eye of the Storm, Benefit of the Doubt, by Sam Ashley.
Thomas Buckner is a “pillar of the experimental music
establishment… A communicative interpretive style and
a good command of timbre … an engaging presence.”
– The New York Times
Included in the program is Night And Fog, a long-form work from Annea Lockwood. Initially composed for Mr. Buckner and first performed in 1987 in a trio with baritone saxophone, and piano (performed by percussionist Andrew Drury).
For Nothing Personal composer Daniel Rothman used text from the collaboration between James Baldwin and Richard Avedon, creating a work whose words are unsettlingly relevant to today.
Sam Ashley’s Ear of the Beholder, Eye of the Storm, Benefit of the Doubt is a piece created for baritone with electronics. The piece is designed to combine improvisation with story telling. The story is of something paranormal, maybe it’s a ghost story. And it happens to be true. Also the accompaniment to the voice resembles the process of using a Ouija Board, except that the divinatory process is auditory instead of being a search for answers.
Earl Howard’s Left Handed Quarck blends Howard’s live electronic processing with the distinctive performative abilities of Thomas Buckner, JD Parran, and Andrew Drury.
About the Artists:
For decades, baritone Thomas Buckner has dedicated himself to the promotion and performance of new and improvised music, collaborating with a host of new music luminaries including Robert Ashley, Noah Creshevsky, Robert Dick, Tom Hamilton, Earl Howard, Matthias Kaul, Leroy Jenkins, Bun Ching Lam, Annea Lockwood, Roscoe Mitchell, Phill Niblock, Wadada Leo Smith, Chinary Ung, Christian Wolff and many others. Buckner has appeared at Lincoln Center, Carnegie Hall, the Herbst Theatre, the Art Institute of Chicago, the Berlin Spring Festival, the Huddersfield Contemporary Music Festival, the Prague Spring Festival, and the Angelica Festival of Bologna. He is featured on over 50 recordings, including 6 solo albums, the most recent being “New Music for Baritone & Chamber Ensemble,” which includes works by Annea Lockwood, Tania Leon, and Petr Kotik. Buckner also appears in the CD/DVD “Kirili et le Nymphéas (Hommage à Monet)” filmed at the Musée de l’Orangerie, Paris, which houses the Monet’s celebrated Water lilies murals. He has performed for years with Robert Dick, and they have a duo CD, ‘Flutes and Voices,’ on the Mutable Music Label.In the 1970s, he ran 1750 Arch Records, co directed the Arch Ensemble for Experimental Music, and curated 1750 Arch Concerts in Berkeley, California, which produced over 100 concerts a year. For the past twenty-eight years Thomas Buckner has curated the Interpretations New Music series in New York City, as well as the Mutable Music CD label.
Born in New Zealand in 1939 and living in the US since 1973, Annea Lockwood is known for her explorations of the rich world of natural acoustic sounds and environments, in works ranging from sound art and installations, through text-sound and performance art to concert music. She was recently the 2008 Composer-in-Residence at the Florida Electroacoustic Music Festival, and her installation, A Sound Map of the Danube, is running at Schloss Orth, Austria through 2009. The score for Jitterbug was included in the exhibition of contemporary scores, The Possibility of Action, at the Museum of Contemporary Art, Barcelona.
Sam Ashley has devoted his life to the development of an experimental, non-religious mysticism, one rooted in a “find out for yourself” attitude, an attitude that he advocates in direct opposition to so many traditions. He has been a modern-day witch-doctor for almost a half century. For over four decades Sam has been using this mysticism in the creation of music and art. His pieces are mostly about luck, hallucination and coincidence. Usually they include direct presentations of magic events, objects or phenomena. Sam’s sound art work is frequently about finding ways to amplify imaginary sound. Sam’s performed pieces often feature the use of authentic spirit possession, a phenomenon he has been working with for more than 30 years. All of what Sam does relates directly to trance. Sam Ashley offers simple windows onto things that occur in-between the real world and whatever transcends it.
Daniel Rothman is a composer and sound installation artist based in Los Angeles, where he had taught at California Institute of the Arts, founded Wires Center for New & Experimental Music, and directed programs for the Villa Aurora International Artist Residency. This year, with visual artist Holly Tempo, he is creating a series of performance installations for the City of Inglewood (CA). Daniel, Tom and Ted Mook have frequently collaborated, most notably on his chamber opera Cézanne’s Doubt, performed at Musikprotokoll-Graz, New York’s Merkin Hall, Los Angeles County Museum of Art, and Oakland’s Scottish Rites Theater. Cézanne’s Doubt is recorded on New World Records.
Earl Howard creates orchestrated sounds with live electronics. He combines structure and improvisation to form a unique, densely layered composition. His music has been performed at Merkin Hall, The Whitney Museum, The Kitchen, The Knitting Factory, Roulette, The Donaueschingen Festival, REDCAT and Carnegie Recital Hall. Howard has received fellowships and commissions from The Solomon R. Guggenheim Foundation, Harvard’s Fromm Foundation, UCSD, and the New York Foundation for the Arts. Recent performances include work with Georg Graewe, Mark Dresser, Gerry Hemingway, Mari Kimura, David Wessel, Thomas Buckner, JD Parran and Anthony Davis. Recent releases appear on New World Records, and Mutable Music. Howard has also collaborated with video artists like Mary Lucier and Nam June Paik.
Andrew Drury has performed in 25 countries and works with Jason Kao Hwang, Frank Lacy, Stephanie Richards, Robert Dick, Ingrid Laubrock, and many others. All About Jazz called his solo cd, The Drum, “an ingenious work that highlights Drury’s fertile imagination, audacious musicianship, and unparalleled virtuosity.” In February Drury completed two weeks of performances, workshops, and master classes in Bogota, and later in 2017 will lead similar activities in Argentina and with refugees in Germany. He directs Continuum Culture & Arts, a non-profit organization that presents performances, educational programs, recordings, and international cultural exchange. www.continuumculture.org
Cellist Theodore Mook is a versatile performer, comfortable in avant-garde, classical, and historical styles. Mook has played at the Library of Congress, the American Academy in Rome,the Chamber Music Society of Lincoln Center, the Bang on a Can Festival, the Kennedy Center for the Performing Arts, and on concert series and festivals throughout the world, with a discography of well over 100 works. In 2009, he relocated to rural Rhode Island, and serves on the faculties of the University of Rhode Island and the RI Philharmonic Music School, where he teaches cello, ensemble and avant-garde performance.
JD Parran has mastered a wide variety of woodwind instruments, including alto clarinet, contrabass clarinet, and bass saxophone. He is the leader of a new revolving ensemble, Harlem Reunion, and appears on recordings with Jason Robinson, Scott Robinson, Thurman Barker, Deep Ecology Trio, and Adam Rudolph’s Go Organic Orchestra. His two latest releases, Window Spirits and Particle Ensemble are available on the Mutable Music label. He currently teaches at Borough of Manhattan Community College, Brooklyn College Conservatory, Greenwich House Music School and In Performance Music Workshop.